Make an Animated Login Screen with After Effects | Tonny Jimenez | Skillshare

Make an Animated Login Screen with After Effects

Tonny Jimenez, Señor Motion Graphics Artist

Make an Animated Login Screen with After Effects

Tonny Jimenez, Señor Motion Graphics Artist

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21 Lessons (1h 53m)
    • 1. Introduction

      1:29
    • 2. Layer Preparation In Photoshop

      6:23
    • 3. Layer Preparation In Photoshop: Hair

      7:10
    • 4. Final Photoshop File Preparation

      6:39
    • 5. Importing Assets to After Effects; Rig Setup

      7:00
    • 6. Rigging Reference

      0:59
    • 7. Rigging In DUIK

      5:46
    • 8. Hair Animation with AutoSway

      5:36
    • 9. Secondary Body Animation

      7:27
    • 10. Hand Animation

      3:40
    • 11. Face Animation

      8:25
    • 12. Dress Animation

      5:31
    • 13. Water Animation

      7:52
    • 14. Water Animation 2

      7:15
    • 15. Water Animation: Particles

      7:01
    • 16. Water Animation: Background

      8:25
    • 17. Water Animation: Background 2

      9:39
    • 18. Water Animation: Final

      2:36
    • 19. Background Animation

      2:56
    • 20. Outro

      1:14
    • 21. Final Result: Animation

      0:15
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About This Class

If you love the 2.5 animated login screens from games like League of Legends or Blizzard games, this class is for you.

Tonny has about ten years of experience doing Motion Graphics for TV, Web and Video Games. You'll learn tips and tricks on how to make things loop, separate the files for rigging and animation so you can have all the control in the final result.


In this class you’ll learn: 

  • How to use Photoshop to create new layers from a final piece of art! 
  • How to harness the power of layering for great animation results.
  • Rigging and animation in After Effects, Auto Sway and DUIK
  • An easy way to make things loop so your render times are shorter!
  • Techniques you can apply to any Photoshop retouch project or rigging for any 2d character in After effects.

You’ll be creating a whimsical character using the techniques and animation from this class.

Meet Your Teacher

Teacher Profile Image

Tonny Jimenez

Señor Motion Graphics Artist

Teacher

Originally from the land of Mariachi and Tequila, Tonny Jimenez has worked in multiple disciplines for the last 10 years. From Motion Graphics for Movie Trailers in Hollywood, to UI and Visual Design and Illustration for Video Games

Tonny is detail-oriented: He can explain the difference between a robot, an android and a cyborg.He is passionate about drawing, writing, records, plants, learning new languages and long walks on the beach talking to Poseidon.

 

Clients:

Riot Games, Blizzard Games, HiRez Studios, Bandai-Namco, NetherRealm Studios, Capcom, Fox Sports, Ubisoft, Sony San Diego, Volition,  Frostburn Studios.

See full profile

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Transcripts

1. Introduction: Hello. My name is Tony Humanise. I'm a senior motion graphics designer with over 10 years of experience as a visual designer , motion graphics animator on composite er for video games and movies. In this glass, I'm gonna show you how to make an animated to the art logon screen animation from scratch. I'm gonna teach you the basics on how to begin separating the layers in photo shop, how to repaint assets and how to organize layers for after fixed. Then we're gonna import the files and only made them and, well, make them awesome for better playback. We're gonna make this one loop both the characters animation on his VFX. For this class, you're gonna need basic to medium knowledge of photo shop aftereffects, Trap code particular and element three D. But any knowledge of three D packages will be super useful for this as well. You'll also need them Awesome piece of high resolution art in this case, the images from Hira Studios. Hey guys, this is my face. This is a little Rami is excited to be here today is gonna be helping as well as much as he can for this class. You get so excited. Let's get into it. Let's go 2. Layer Preparation In Photoshop: So we're gonna need to tools basically for this Ault for the clone tool, which is this little guy here, and be for the brush itself. So well, you have the brush selected 80 press Ault is gonna, you know, pick the collar. Another thing you can do is like on windows you can control. All on, right. Click on. If you drag left and right, it will increase the brush size on if you do control. All right, click and drag up and down. He will decrease the harness off the brush. OK, If not, you can always right click and see the options of it. But just keep that in mind. I will try to keep this simple, so start with her face Right on. Our thing you can do is go into the brush properties with F five. I normally tried to lower the hardness down to depend on what we need. Maybe zero is fine. For now, spacing one is fine. Let's try to keep it around the brush. So we're gonna start with her face. Okay, so this is definitely a challenge because there's a lot of things going on here. Another thing I do is just crazy. Ah, letter peak for the pencil. And I like to just the nodes with panto weaken do like manually. In this case, I like using the the pantaloon. You'll see why in a moment. So we're gonna more or less imagine her school shape. Have you press a for to select the I comes If he doesn't do it, press shift a And that way you can just modify them a little bit, right? So go to paths, control. Click it and then you're gonna make a mask. So if you duplicate this all dragging, we're gonna mask there. So we're still gonna keep the original for everything, right? So this because we just have everything but the face and we want the opposite of it. So in this case, we're going to select the mask. Another layer. It was like, um, it's considered a different thing in for shops. A click on the right little mask. That's Ah, that's ah, layer mask. Right. Press control. I is to invert it on. There you go. We have the face now Presby to select the brush tool. I'm gonna try to keep it nice and soft and press Ault to pick whip things right and then, All right, see, nothing happened because we have the mask selective. Let's go back to layer itself. It's gonna hard to tell, but it like this little like the square outline around it. When you select it, it's important for you to to notice those little things, right? So we're gonna, you know, start painting this type of things for me guys, it's kind of like refreshing relaxing. It takes, ah, take some time to do all this, So don't don't feel like you need to rush this. I'll click it and then you pick that color, I'll click it. I'll click it. Oh, click it Realistically, when I was a writer, each one would take around two weeks, depending on the complexity of it. I feel like recently, in the last few years I've gotten faster. This type of things should take around a week or two. So we're trying to do is to hide everything that is behind her face. There's gonna be definitely some changes in the final art, as in like, it's not gonna be pixel perfect. That's the way it goes. There's no such thing as pixel perfect art from Photoshopped into McGrath because we know her hat is gonna be on top of her forehead, willing to be too precious about what's on top. We will need to render the art. We're gonna lower the passages so the colors blend a bit better. I was saying that we need to think of this as a very complex painting. What we're doing is just creating assets from the Splash art. Also, it's winning to claim this. That's some Do it over that too overboard. So we have the face now the metal chunks, right, So this metal chunks are gonna be a little complicated. So we're gonna do you know what? Let's keep the whole head, head gear, That's a single there. So we're gonna do the pencil again. This is how I do it. By the way, I like I said, you can just use the mask. Rest of you can paint a master hand. I feel like the pan tool. It's a little easier. I don't know. What is it like, used to do a lot off. It was the illustrator work saga used to repent toe a lot. If if you don't know how the pencil works, guys. You my one to look up. What tutorial for that? Because we're gonna try to attack this in the most efficient way possible. This thing still take time? I don't feel like this is something that you would do in, like, an hour or so. Like I say, this type of stuff is kind of relaxing to me. You know? It's gonna stand beginning to it. You start separating things on. You know what? In the beginning is kind of boring. Not gonna lie to you special in the beginning, where you don't know the final result on how is that gonna look? But over time, the more see, like, separated and Minister seeing things going on, you'll see how much fun that ISS. So for this case, we're gonna leave this chunks in front of them, create a layer for the Blue Harris part in a second. Okay, so we're going to this'll, and then we're gonna do Oh, this. Okay, so we have a path. If you selected with a or shift A to switch between those things, you can just click on the notes and move them with the arrow keys right again things don't necessarily need to be 100% perfect. At this point, you'll see why in a moment basically needs to start thinking about how things connect. In this case, this metal part is gonna be on top off other things. 3. Layer Preparation In Photoshop: Hair: Welcome back, you guys. So let's say we have prove a chunk of the have all to click on the icon to reveal things, and then we're going to see, like, the backpack dress would select the layer understanding that you touch ups. Remember, this is like creating things that happened behind in front of the actual art. It's tricky because, you know, like I said, some artists sometimes I don't plan the art to be seen this way, so have to rebuild things. Okay, Cool. So again, views like the layer on all to drug you duplicated. So we're gonna go back to the head when I select the dreadlock Syria on that, you can tell I'm going a little faster. Now get ready. So get ready, boys from girls. I hope you guys I haven't found by the way, we're gonna make up more than the shape of it. And, uh, the weather's was painted. We may be able to get away with this by duplicating it, but I think for the dreadlocks we might be faster with a brush. I number Switch between the pencil and the brush. I think the Pantelis better for like, heart surfaces like metals. So we might have to use the brush with a hard edge for, um, organic shapes like her dreadlocks and all that good stuff. So I just tried to hi sharp edges and all that because obviously the dreadlocks organic, surpass country Quick on, we're gonna just musket out control. I two inverted. Yeah, we're gonna have to rebuild a bid with five to select to change the hardness. 200 capacity. 100. Change it to white because, you know, like as you can tell black and white right now, it's mostly black, so it won't reveal it with why. So you can tell there are some things in front of our thinks. So like the layer again. Ochlik Just go a little faster for this guy's old click brush. I'll click to pick up the color on them. Paid quote. This is red look number. What? Let's see. This is gonna be tricky one, because there is definitely a bunch of things going on. So not shark it for this is l l is the selection toe, so you can do a little faster with it on, then refine it. It's another way to do things if you want to. Every press, salt your dislike, That chunk is my baby trick here if you have ah, on into us. Or like, you know, like a tablet instead of, uh, what is it called, Like the screen that you can drawn and says Since we'll see the other side or just gonna make it up ourselves, you can always refined this, uh, as we go and then musket out on, I'll click it. See, It's another problem is that things are on the right, so no wars. We just paint that thing out. Go so have strayed like number two. So another thing to keep in mind. Guys, the more layers that you have, the more opportunities you have for animation. So again, this whole thing let's repaint this section like I was saying, This this whole thing, the preparation, it's probably as important as the animation itself because if you don't prepare your things beforehand, things might get super tricky on annoying toe animate. At some point you might have to go back to the photo file, and that's super annoying. OK, so let's go with dread. Look, number three I'm not really following in the rial order are another thing you can do is would say the whole campus with our that makes things easier to select as well. So let's do this little thing working. I also probably just not do us many, and we're just gonna replicate this. And aftereffects were just going to duplicate layers, you know, to put them behind the main dreadlocks. Just for the sake of the example, we're gonna more or less try to follow the same shape. This might be important a bit later in the process, you'll see why. But try to have, like, you know how the dreadlocks follow more or less from her skull. Two days later, the the tip. Try to keep that in mind. So don't don't hide them too soon or two earlier in the shape Tried to follow the shape. Overall, that's red light number three. A lot of this animations require hundreds and hundreds of layers to create a new layer. So we're gonna do a little bit off like a run down on what we're gonna need, right? So I'm gonna do I'm gonna edit this or make like, a faster process for all this, but we're gonna need. You know, we're more or less done with the face. So you know, the dread looks We're gonna need a bunch of dread. Looks right. There's one. It's a bunch of them boob. So each one is gonna be a layer on. Each one is gonna have a repaint part of it, right? That's its high. The layers for now. Right? So where we have the earrings front and back where they have the helmet on the overall. You know, the role clothes part of it for her body. We're gonna need a finger in each layer, layer, layer, layer. I hope it all of his makes sense. It will. I think me showing you in real time might be a bit, you know, not very interesting. So you guys meteo, you know, understand moral is a process for this. So we're gonna need the arm. So we're gonna need the arm to be like that, each finger for this as well. Right? So we're gonna do the same thing. Like, and by this I mean, like, the whole arm you guys, right? I mean, all that on for the torso. We're gonna paint under this, right? So when she moves her arms will see if under it a little bit. Right? Another thing. We're gonna separate these little things. I don't know the names for this. You know this little cloth? Uh, let's make this a different caller. So we're going to separate this in the different layers. Well on, we're gonna repaint from under this, right? So we're gonna be paint purpose came here. Same for the dress for the dress. This is a tricky one because it's kind of folding in a cool way for this. We're gonna have to modify it sometime later with Let's make one part for this one part for this again. Make it, like, go under it. Right? One part for this one part for this. So let me let me go ahead and start. There's on. I'll be right back with you guys. All right? Let's let's roll 4. Final Photoshop File Preparation: Welcome back. This is a photo show file that have created this type of thing. This preparation takes a while. Guys like it took me a couple hours to do this, but realistically could take, like, a full day, depending on what it is. The best case scenario is when, like you're working directly with the artist and he or she is giving you the actual photo show file in layers on, You know, from those layers you can create kind of, like, you know, merch or repaint things here and there from the PSE that normally is the best case scenario . In this case, this tutorial is basically for you to take whatever you want online. Like I said in the beginning of the tutorials, as long as the image is like high resolution or like big and pixel size, you can get away with whatever you need or whatever you want. The downside of that is it can take a bit longer. Here's a photo show file. I've repainted a bunch of things. Like I said in the previous video, the layer separation normally is like front middle on background. So if I hide the stuff in the foreground. Just the background is the sky. A bunch of like I've separated like each leave of the palm trees. Don't worry about this. We're gonna This is gonna stay behind the one of the water stream, so I didn't worry too much about it. I didn't care about naming this layers. I know I'm kind of breaking my own rule, but for this type of things, you don't have to as long as these things are not called same were concern with the bigger stuff. Like, you know, things in the foreground or like things there are big in size. Or, like, you know, those type of things I'm not gonna worry about, like little pump tree leaves in the background for this. So again, you know, you have to be wise about it as long as you name your layers. The ones that are important Normally, you know, sometimes I have, like, a solid color to hide things around, you know? So all this stuff is gonna be hidden on the cool things went once you import the, uh, the folders into aftereffects, you will rate it as ah, pre camp. The next folder is the backwater, right? so that's in between the character in the background. So I decided to have a single boulder for it. A narco thing is that once you are done with your layer, it's a good idea to make them a smart object. So if you make them a smart object, you go to layer smart object converts. A smart object in this case, guys all shift control ass normally for shops. Shortcut for that is safer web. But I changed that because, you know, I never say for web. So if you go to cable keyboard shortcuts here, or have you press all shift control, K is gonna show you this. You know this thing, this many so like it's basically the same thing that you see up here right on. Then you can select whatever you need the rights have you go to layer. So you get so smart object converts. A smart object. You can change it here to whatever you you want. That's that. So the cool things like once you do a smart object on, then you click on it. It's basically gonna open a kind of like accounts us a different file because it opens it opens the things that's ah dot psb in self psd from the original photo show file. I just realized that, you know, like this little chunk might be a problem. So now that you're in here, you can just start painting assets. And the cool thing about having things that smart objects is once you're done with it, right, this is good enough again. This is like a super quick thing. So you have to save this, like, close and save rights of Eve. You press control W is gonna ask you if you want to save control. W is too close. The document, if you made changes, is gonna ask you so safe. And now this thing is back to what it waas. Having a smart objects allows you to also have placeholders. Say the ah, the artist is not done with it. You need to start working on your effects or something like that. You can basically ask them Let's say let's say inside this we can give you double click it . You can just ah, color. So that's it for this boom. So whatever happens within, you know, inside this layer, the artists can always polished the art or you repaint assets and all that. As long as the pixels are the same as in, like, you know, if if it doesn't have anything outside off this great area So we're gonna go back to this, we're gonna disable the effects, right? So the character now it's in front of this. So it's the same drill. If he opened the character folder, you'll see there's folders for have for ahead, right? So that's her head. That's her right arm. So that's good stuff, right? We're gonna regroup things and move things around once we are in after fix. So I also decided to change her face if we go to the face a smart object. So I changed it with the final Kevin. See darkest art. I think she looks more interesting with, like, glowing blue eyes. So you know, you can do that. And then the front layer would be the front water. Remember, this composition was a bit bigger, right? So we I shrank this by 2000 pixels for with you know, which is roughly the 1920 by 10. 80 size, which is Hee. In this case, I decided to make it a bit bigger, just in case. But the regional comp was like 3000 or so. So this point is 100% wouldn't be that much detail for this Also, you know, things give up its lower cool thing, though, is ah, you do that at the very, very end. So, like if you open one of the things you can see seed like it's thirties 38 68 which is twice as big as the original file or you're twice as big as what we need. But aftereffects is not gonna know this aftereffects is going a little the file for the footage profile From this size, I'm prison control all I, By the way, to see the size, The size is important. This case because if you have it, like if the pixels count is too big that your system is just gonna collapse and it's gonna take forever to render. So in this case, I just want to animate this as roughly HD So 1920 by 10 80 I'm making a bit bigger, just in case we need to crop the edges a bit here and there. But again, you know, having a little extra breathing room on the outside. It's normally a good idea. 72 d. P. I is perfectly acceptable for this. So we're gonna take this file and start like making fun, breaking an animation in after fix. I hope you guys are excited. Let's do this. 5. Importing Assets to After Effects; Rig Setup: so we grant import everything from fuller shop. Right. So find your for show file resized. In this case, we're gonna do composition, return later sizes on march, layer styles and footage. Hopefully, we're gonna say, before anything breaks, this should look exactly like your photos show file. We're gonna check. This box is for now. Let's not worry about that. We're gonna need a couple more things for these. You guys, we're gonna need our crop, which is ah, playing on A scripts. If we look for a crop, are capped three, we're gonna need this one, and then we're gonna need auto sway as well. This is a bit pricier, but a highly recommended. You're going to use this aton if you want to get into this type of stuff, right? We used to have, like, our custom scripts in a lab, and you can recreate that we like expressions all that. But, you know, this is basically the same or across his time box. So I highly recommend getting both. You'll see why in a moment. So, for instance, if we go into the character camp, we went to the head camp that we're going to click on the collapse button first. So you see how this camp is using the whole head this cause we're gonna mask it out. So we're gonna ask you, like, the layer and then just make a mosque, right? So mask, crop boom. So the whole calm now is the size off this camp, right? So it's also need, er it's cleaner. I have overcome and getting that, William. Same for the handsy. Like the whole camp is being used. So we don't need that much. We're just gonna crop that the whole camp to be more or less that size. How we work. Click on the collapse button first. That was another thing to be mindful off. If this thing is not collapsed is not gonna work. Well, it seems like the other. All right, my scrub the same for fabric. So we're gonna cut this. I'm pace it back to the, you know, back to into the main body. That was my but is not the end of the world. You can rearrange things in aftereffects toe. We're gonna have the dread looks here with the hat. So don't worry about the phase that is there were looking to see that, Okay. And then for the dreadlocks layer, because we're also don't need the whole comp to like the layer in after fix, Um, make it the size that you want also have their the latest sort of cooperation. So that's probably why it's like, damn with funny. Um, awesome. So, yeah, there, the whole, You know, the whole compass model is the same. All that stuff we're gonna have to pre comp left arm. When I start renaming things, we'll move everything when I call this left arm. Pretty Kump. Okay, so now that we rearranged some of the things well, we name all the layers. Everything is imported, everything seems nice and clean. We're gonna start doing some fun stuff now. Finally. So we're going to start with some of the, uh, rigging this. Do it doing stuff. I used to like it better backing like 2017 or so. I will try to keep up with the new system. You know what we're gonna do? The new system. We're gonna test it out. So I'm gonna start creating skeleton structure with a hom annoyed or Khamenei system. Right? So it's basically you creating more or less the things moralists, how they connect. It looks kind of silly, but, you know, it's gonna look better over those Leah in a bit. So the whole idea is that the red things is the the master ride. So we're gonna start with a spine. Never mind the other chunks on the side. So we're gonna do the, um, the spine, by the way. Like after you create this stuff, everything is named for you. So this thing is incredible. This thing is magical. Ah, right. So then we have the neck. So that I think, is going to save, obviously by the neck. We're gonna do, like, a spine thing at section. So the shoulders, we're gonna put the shoulders more or less in the same situation in the same position. More rep to move the elbow section of the rest. Um, arm tip. Remove armed tip to hear. Probably you click here. Right. So, wrist, um, where is this wrist tip? Cool. Some of it will work. Okay? Them little or here you just have to be perfect. But it definitely you know, it helps if, um if position things proposal when I move it, it doesn't really like the core. You mean like that? So then the chest gonna be higher, So Mm. This is a tricky one because of the position, but hopefully nothing will break Cool. And then, uh, spine top. I think the neck is the beginning of the Mexico is like the clavicle, so that looks good. So now we're going to get all of this. We're gonna get all of this. We're gonna do a auto rig, and then, you know, some magic happens. So now we have a controllers to move the things. Oh, yeah. You present tilde key. The up to the left of the number one on top off Q. You're gonna have, like, a full screen thing for aftereffects. Um, so it looks fine. You know what? Let's move the shoulder a little higher for this side. Then this a bit lower. 6. Rigging Reference: Hello. Let's jump right into this. I was watching a video after the last tutorial made by Jake in Motion Watch this video doing 16 jumpstart aftereffects character rigging his processes with different than mine. Mine was about selecting the layers present X, then fear. And what? Which number off a layer was that? And then parenting that to the proper bone? This guy's take is actually pretty clever. He's changing the whole you I for aftereffects in explaining in two sides. Go watch this video. This guy's great. I just recently discovered him. He's also on skill share Jake in motion on YouTube. So check him out. Maybe he's take on the rigging. It's a bit more clear for you guys. I'm trying to go a little fast on all of this. So all the details on Misha, it's a little hard to get into because otherwise this videos would be hours long, right? So, again, check him out. His great he's got another. He's got a bunch of other really useful videos 7. Rigging In DUIK: just kill this. Is it gonna break? Help me. All right, Let's. So let's try this again. Character. So we're creating the basic structure for this. It seems like we can get away with this new system. Is not that different, I guess from the other version. So let's say, for instance, like, have is gonna be parented too. The head. Right. So we move, see? Have have that. Cool. So the next step would be for the torso s. So we're gonna create the, um, null s'more less. He was legacy for this, by the way. Okay, so then we're gonna do the same for the body. Were just gonna roughly create the nose where her body sits. Right? So this is a torso. Right? So we're gonna do create out bones. Right? So this has got you can change. You should change the bones. Names. Yeah. I don't know if I understand this new system. So this is gonna be torso lower core, or so one chest. It's gonna be like where clavicle is gonna be. All right, this is left shoulder because we're naming things according to a screen side. Okay, that's how I do it. Um You don't have to just be mindful of that. I'm naming right side ASUs in the screen. Right. Although, you know, in this case, yes, her right arm would be screen left. Okay, so we're gonna do to this arm. So his shoulder was gonna go into this arm, shoulders and neck on. See hand spine, too. I'm gonna just speed up the whole process. Where you guys, the whole idea is for you guys to start like parenting things. So that hand goes into the race controller the, you know, the shoulder goes into the shoulder control and all that. Eventually, everything is gonna be controlled by, like, a funeral's on Lee. So, like, the hand will be controlled by the, you know, the risk controller on. Since it's a regard inverse cinematics. We're gonna start animating some of that, too, for both sides. Same with neck. Same with have. Basically, the core are going to be the only things that are gonna be animated. Everything else will follow all those things. We're gonna try to keep it nice and simple. You can play with it. But the whole idea is that once you have these layers, obviously none of them will be rendered. None of the, you know, read pains on the icons on the skeleton will be rendered. Everything will be transparent or, you know, invisible in the final render their technically, like Knowles. At that point for the next chunk of this section, I'm gonna go ahead and finish up their rigging do like an animation test, gonna start animating on other things as well as you can tell from this, like fast video that I'm playing the background. I'm just still parenting things around, moving things, switching things around to make sure they follow. I had to puppet like the clothes to be in front of her chest and saying For the you know, the controller for the shoulder, you know, the controller from the arm will follow the controller from the body controller. So it's a matter of just parenting things around once again like this can be a bit overwhelming. So don't feel bad if you can't keep up on the first try. One thing to remember is that even know how to do this and three d you were basically trying to replicate that we're trying to basically replicate three D character rate. As you can tell the bones moralists have higher key on things. Follow other things. Okay, For the next part of the tutorial, we're gonna have her a bit animated. And we're going to start animating the dreadlocks and some other mine minor stuff when you're testing. And as you can see from the video, like moving things around to make sure things follow, It can be chemist, silly when you see it like like that eventually we're gonna shy the layers that within the them we're gonna, like, simplify the camp as well. Oh, yeah, like so. I'm going to start doing some animation tests to make sure things don't break. It's, you know, it doesn't have to be anything super polished at this point, just again, just to make sure things don't break, we're gonna make it loop by adding a loop out expression, get ready for the next step in the process on. I hope you guys are having fun. So far, 8. Hair Animation with AutoSway: Okay, Cool. So we're gonna go back to her. We're going to start animating some things here. And there are this way. As I said before, if you go into a scripts that come, I think go search for artists. Wait. This plugging is great. This is why I'm using Give this guy some love is his great cool. So we're gonna go back to this. We're gonna go to go back to the mesh. We're gonna use legacy, and we're gonna do like a puppet pins puppet points. We start from the road, and then we apply. I'm boom just like that. It's already flowing. We're doing this over five seconds. This is Ah, five second loop. If you go back to the odor, soy develop in tools and I'm just, like, hit and such for loop. His explanations are pretty straightforward. We're gonna do one loop every five seconds. Right? So one loop every second is 201 on the speed value. One loop every two seconds. It would be 201 divided by two on and so forth. All right, so we're gonna copy this just to make sure we're gonna go to you know, five seconds in the camp Presby. And then we're gonna move to 10 just a second before impressed an We're gonna do turnaround one divided by five. And there's a value of the wind that we want, right? And we run preview. It is looping, suppress, straightforward. We're gonna do ah, null object, right? There's no object we're gonna call wind controller on. We're gonna have a slighter for this. Cool on. The value was said it would be this which is 40. What is it? 40.2. So we're going to 40.2. We create a key frame, just compress you and go toe. Yeah, like show show than the timeline. We're just gonna Dragon grew up this. All right, so just this little super quick and dirty expression We're gonna copy this. You'll see why in a moment we're gonna just go a little fast here. We're Sonic the Hedgehog. Now we gotta go fast. Do that's horrible joke work. He was like my humor. I do terrible jokes and then my heckle myself, we're going to select them, but we're gonna go back to pressing you right on. Then we're gonna select the route, and then we're just gonna apply it just like that out of Sue's ridiculously good man. Yeah, this and they were gonna do the speed on the speed is gonna be the same as before. So that way, just like that. You guys, we have to moving dreadlocks. Oh, my goodness. Okay, so there's one again. This prose is coming repetitive. But I can, you know, if you haven't noticed, I like this part the best, because this is when things start moving. Yeah, if you click on the layer is just gonna play it just like that. That's a That's a new one. I want you guys to see more or less how to roll with this. I'm not trying to tell you guys. Things are like were quick to achieve, but once you start moving things around, things look much interesting, right? So we're gonna keep, like, I'm hiding things. I'm hiding this. Uh, that's right. Look, looks a little funny. We might need to fix is later. We'll see. You know what we're gonna go ahead on? Just apply. It is might be a problem if we go to for a shop to fix this, but no warriors. Hi. This Just go to the Mexican. In theory, you guys, you could become vase. And can I, like, reuse the same animated chunks? You know what I'm saying? Like duplicate the this company and you already have a bunch of animated stuff. But having like multiple assets like this allows you to make things a bit more interesting . Way might still duplicate the company after this. To have her look like she's got a ton of extra dreadlocks. We'll see. Uh, so same here. Same here, Juan. I'm just trying to make, like, four points in general. And I'm adding the last point of were the metal chung would begin begin? Because after that, it should be like, if you have a next ra puppet here, a puppet pain after this, uh, the medals chunk is gonna ban with hair, so we always late don't want that. Um, to three. For theirs will add, like, 1/5 long white. Now, if you have something selective of you, Press X is gonna put it on top of on the timeline. I'm boom on two, 34 five in a play and then speed, we're almost done. You can tell which ones you haven't done. Because there they don't have, like, a bunch of controllers on top. So we're almost there. This seems a little by covering it, Didn't I? Cool. So apply is moving as you can tell. Like I'm normally, like, really quickly script through the timeline just to make sure. 9. Secondary Body Animation: Okay, We're gonna move ahead with some secondary animation, so we're gonna do her hands. Her hands are pretty straightforward. So we're gonna do something subtle. We're gonna just parent this to the root of the hand, and then we're gonna do one controller for this. When I hide the mesh one control for this, I'm one controller here. Right? So we're gonna do 123 are gonna make this bones. All right, so we're gonna name this. You can name the puppet pins before you name them. I don't know. There's, like, a natural difference. So sometimes it's better to name them before you apply the effect. So we're gonna do, index, we're gonna rename them index, you know, face in the mid mid index. Right? So for this one, we're gonna parent met to base, and we're gonna do tip to middle. The rotation from middle is gonna be connected to a rotation of the base. Things should move now. Okay. That's why too much that we're gonna do times like three. This one, the rotation off. This is well, so we wrote it is a bit good. It needs to be something really subtle. So since we know our animation is five seconds. We're just gonna do, you know, move it and then just rotated, like, five degrees. We're gonna animate base, right? So let's go back to the beginning. Do que frame. Okay, so gonna do index. Right? So the base is gonna go to want to zero, and then we're gonna do like, that's too much. Look, three writes something nice and subtle. You guys will need that much. We can. I have, like, three for this. If we want this to I guess we could do the tip. Right. I guess we will do the tip, right. This is gonna help bend it. So this is gonna be in Vicks on their work. Just gonna parent this too. And then we're going to this, right? So now it's moving a bit more. So now we can tell that it's too much too. And that's it to right? So the finger is gonna move like that, and then after, right before the last second, we're gonna just copy paste this right? And they were just gonna old click. We're gonna do a simple loop out about Boom. Just like that. The finger is gonna move. Right? So pretty, pretty basic stuff. We're going to the same for the So there seems to be I should have separated this layer. So we got duplicate this, right? We're gonna a mask this finger out, and this is gonna be left hand ring finger. Okay? We're gonna dio my screw up just to make sure. And then we're gonna a mask. This one, we're gonna left hand ring finger. What? No, this is live hand small finger live rain finger. Right. So we're going to the same. All right, click it. This is gonna be a tricky one. It was like I have a weird lag. Okay, so this one is gonna be bones the bones. So this is ring face. This is Ray Middle. This is right. Hey, we're gonna Tomorrow is the same tip follows middle, the middle, fullest it for his base. So since this is an awkward angle, we're just gonna do something So a swell. Nothing too crazy. This is all about, like, making things move like subtly. Right? So this is fine. And then we're gonna do the last one, and then we're going to select them both. If nine then copy this. Oh, Quick womb pays Don. So this things, it's just a matter of doing same things left on the I feel like the puppet. This thing should move as much This snack word angle for this. So we're just gonna leave it mostly the same. I don't think we'll animate this as much because of the awkward angle bones. So this is like finger small base finger, small man, finger small, writes a table for middle for that, and then we're just gonna do a quick rotation as well. I don't think this is gonna be that march. Maybe it just, like lies in the three. Yeah, something nice and subtle right than control C control be Oops. So, like, the frames and then do the about right. So we just need one finger left to make is the base is the middle mental air, and then we're going to the same as before. We're just gonna do have a couple of based pence. So the layer itself this move and then we're gonna do this This one, because again, this is like an awkward angle. I don't think we're gonna need more on bones. This is made a finger. Middle bass finger, middle to finger, middle mitt. So, table for a base this before that again, we're gonna do rotation, Go to the next one rotation. Let's do, like, five. And then let's sue these rotation as well. So five seems fine. Maybe we can always tweak things after. Okay, so we're gonna just copy this frame, paste it if nine Ochlik loop out. Realistically, you could loop out the camp on the higher level as well. There's multiple ways to do this. 10. Hand Animation: I'll teach you a different way for this. This is more or less how I would do it in real life. So this is gonna be no controller controller. Put this under top. Gonna have a slider, and then we're just gonna do, uh, rotation control on all the base. So gonna do one from here. Right. So the base of this, we'll follow this lighter. So number loophole for this. Okay, Same for the base. We're actually gonna ring base, right? So we're gonna copy this and replace it. All of the city is why it's important to have this appropriately named. So we're missing one base or one male base. Cool. So what we're gonna do is go press X and then go to this K frame on the how like what is it ? Six. So it's a minus nine on which is gonna move them at the same time. You could You could always offset them. But for the sake of example, we're just gonna keep it like that for this guy here for thumping bass. Some base. We're gonna do this, and then we're gonna keep minus one. Said Vance in the opposite direction. It looks like we're may saying, index, space index space base on, then rotation. This is gonna be like that in the space. Just this is gonna be their rotation. This mm space. So it looks like this one might be going a little too far. So control W because of this guy. So we're just going to paste it, and then we're just gonna divided by two. Right? So we'll need that much motion. So this is gonna be like that. You can always upset the frames and all that if you have the key frames isolated. But I za so fine. So then we're gonna go back to this. We're gonna do 00 Okay, so that's from previous these guys. Are you guys excited? 11. Face Animation: So the hands move the dreadlocks move. You know what? Let's let's just go ahead and do the face instead of that. Yes, I know the hands work, So check it out. The eyes. I need something very important, which is a little glow, A little reflection from the eyes. Right. So we're gonna just put it on top and then just high this They're just gonna have, like, a little mask, just like here, More or less. Maybe a little tiny one here, more or less to look the same here. Another one here. So right now looks like the eyes are glowing a little bit, right. So we're gonna just feather further this touch, so the one next to it, This is not that noticeable. We can keep, like, a harder edge on the main I part. So see how, like before, you know, before and after. So the only reason we're doing this and you'll see why it's because when we moved the eyes , the reflections of the eyes will be the same. So it's too more or less two seconds for this. We're just gonna move it here and then for this we're just gonna do a little bit towards us . Oh, hello. Then we're gonna do back to us, right? But we're gonna right click it and then we're gonna do toke trouble them. So that way, she's gonna look like she's looking around a little bit like this one. My baby, too much. So we're gonna keep it for a little longer. And then that one. Let's see how this one looks. Guys, this might be a bit too much again. We need way. Want this to be nice and subtle? Yeah. So, like, if we see it from, like, a more less the actual size. Yeah, So this is 100% of the animation, so make sure you look at it at the final size because sometimes he looks like it's too much when you zoom in there where you see it in real life in real size. So we're gonna loop out this right? If you go to motion script dot com or if you Google Wiegel Loop, we go. Luke. The first result from this guy this guy's a frickin genius. So then Everts is a freakin genius on. He explains a lot off how expressions work in a very intuitive way. I highly recommend you checking out his website on like he talks about expressions and how to do, like, awesome stuff. Right? The reason I bring this up is because, like the wiggle expression, it's a thing that we use the Thanh at riot and I still do. You still use it all the time. So we cover the wiggle expression again. We're trying to keep this simple, but if you click on right hearing right is this thing right here? So we're gonna make sure the anchor point it's properly placed, suppressed why? And then click and drag. So now now it's gonna run. It's gonna rotate from this. So they know. Click it and then copy the expression and check it out. The frequency seems fine. We're gonna turn down this. There's some magical expression, you guys, and look, time is gonna be fired because, like I said, we've been doing this in five seconds, right? Just like that, the thing moves and it's randomized. We can probably just tone down the amplitude, and now it's nice and subtle, right? So, just like that, we're just gonna do the left hearing. Boom. Just put it more or less here, I'm Van Rotated. Um, since we're in the face, we're gonna become this. It is complain on then, you know, order crop it. So something nice and subtle would liquefy will help us a time. So liquefy. It's also one of those plug ins that are incredibly powerful in after fix and met. A lot of people seem to use it, so check it out. We can rename the effects, by the way. So we're gonna be squint, so enter squint. So we're gonna do the squinting here, and then we're just gonna make the brush a bit smaller, and then we're just gonna tone down the eyes a little bit, right? Just a touch. So So we're gonna go from, like, zero to, like, 60% on them back. Right? So, see, like how the little squint helps out onto. So just like that, and they were just going to duplicate this. Reset it right, Ana, I just recited here, so make sure this is 100% Ana. So for the eyebrows, I just turned him down a bit. And so this is how this is Why was separate. Thanks. Right. So now it looks like she's looking down on while we're at it. This is gonna be eyebrows, right? So we're gonna duplicated again. We're going to reset it, and then we're just gonna make her smile a touch, right? So we're gonna widen that smile of touch. This is really subtle. You guys don't go too crazy with this, Otherwise things. My look, two bouncy. We're just gonna make her just smile a little bit. Kind of like, you know, she knows what's up, right? So just like that, we can We can do a ton of techniques for this. We can make her head turn on all that, but I think this is pretty good looking guys. See how quickly this waas we can always like, offset frames here and there. Um right. So we're gonna just like I read collection. We're just gonna I've said there's a touch, and since we're right here, it would go toe eyebrows, which is gonna lower one a little further to make it a little less symmetrical, you know? So that way she looks I've had more mysterious, right? So just like that, we go back to character. Her whole thing should be moving cool. you guys see how she's moving? Oh, my goodness. She is looking so cool. I think I hope you guys are getting excited over this. 12. Dress Animation: right, So onto three, three, then our soy it If I were to 23 artist. Way it. Okay, some fabric. Three send. Really, guys. Okay, Juan. 234 four, 234 So it's a very interesting one. We're gonna try. It was something different for this one. So we're gonna do this one. So we're gonna do a bone here just for this, and then we're gonna make this one follow this one. Right? So now the thing that we need to fix for this one, right? So we're gonna do the same here, More or less the same here. We're gonna create to puppet pence, right? So there's gonna be left fabric discovery, right? Five. Rick, this is left fabric Master rights. And I wouldn't know that left fire ignites, supported the master, right. And then left fiber Ignatz to follow this guy right? Suddenly, hopefully things will follow. I hope you guys are having fun with it is because I'm definitely enjoying this process a lot. 12341234 1234 So it and then go back to it. Want 234 Otis, wait. All right, so we're gonna go back to the dreadlocks. We're gonna do the same thing, right? So when you this later control for the fabric. Right. We're going to copy it from the dreadlocks. Comp Control C Control V. Right. So now we know just by following the dreadlocks controller that the artists a speed limits would be the same, right? So we're gonna change the speed for all of these good stuff. So I speed. Okay. So, again, since everything loops now, we're just gonna go to the 2nd 5 Control and I just run Preview this and see how this one is looking. And just remember this is gonna be covered by water. So character, let's run previously is you guys. I don't know where to run Preview. This could be with everything at this point. Right? So this is what we have so far when he was think. Are you like it? Are you excited? I think I am getting really excited about this animation 13. Water Animation: Hello. I didn't see you there. I made the render for this, so I'm just gonna put it on top of the video. She's looking pretty good. I think so. Now that it's a video, she's looping, and he doesn't have to load a bunch of stuff. So we're gonna go ahead and do the next step. The water. The water is gonna be interesting. So this is what we have on. I'm gonna try to do my best on how to explain it, but it's pretty straightforward. We're gonna do the same thing as before. Concerning that pre camping, all that stuff. Let's see that start with, like, a big one pre come everything. It's not the end of the world. If I don't name the stuff and they were gonna do a crook, right? So we can select multiple layers. Then everything is good. I'm you know, everything is properly sized. So we're going to start with this one. Okay, so there's one. It's an interesting one. How are we going to solve this? You know what? Let's go. Let's go back on then. Working at there's definitely a chunk. Yeah, we're gonna just Mm. We're just gonna pre comp all this stuff together. Okay, so we're gonna pre come everything so control. Click it. We're gonna do this main wave. Okay? For this one, even you've you double click on the company on the mask icon is gonna create a mask around the alfa of it. So we're just gonna do we need a little more space because the water is gonna be splashing . So where I just mask, rub this. Okay, so inside this computer eyes, this is what we're gonna do. We're going to restore the heck out of it. Right. So now we know that fish we got. Just rename this fish. This is like the the fish background. So this is just what's behind the fish, right? The reason being is original had, like, this thing painted, and then we're gonna do back run or, you know, let's let's rename this main What? All right. So this is what we're gonna do. We're gonna do a fractal fractal noise. You guys, it's the best. Fractal fractal. Nice. All right, so here we go. We're gonna figure this out, so we're going to start with kind like, you know, the reflections in the water another reflections like you need to find references for this , right? So if you go to you to on well, we'll find some water reference. It's always a good idea to gather reference. So obviously we're not going to do a liquid simulation or anything like that. We're just gonna try to fake it till we make it to a first step. Let's see. So, winning the fractal this feels like this might be the ticket. So we're gonna do you know, we're like, how you can see, like, lions in the water. We're gonna basically do three levels on the issue of flying. So check it out. We're gonna just click down below here on their evolution up, and then do cycle, cycle evolution. And they were gonna do time, time, times 75. So, with the time times 72 you know, is the revolution speed for this? So you can just steal this Times 72. Is that the total rotation amount? So we're gonna need that. I said, like a water effect, right? What? We're gonna play with it. We're gonna make a bit smaller. We're gonna make it a touch smaller. All right? We're gonna have to play with it, right? So the Now that it's looping, what we can do, it's to start moving it. So the whole idea to make this loop this is gonna be distorted. So again we're gonna do working in loops can be I live a little, uh, hard to understand sometimes. But here's what we're gonna do. We're gonna do, like, the quickest way possible, right. So now we know. So, actually, let me show you. So now we know that this control right here is the center of it, right? So we need to Siri it out. So that means it's going to start beginning of this cop, right? And then we want it to go all the way to the other side, which is 19th 32. Right? So we're gonna move it to 1932 and then we're just gonna duplicate it and then just move it rights. And now it's nice and loop it. Okay, so we're gonna do the same with the other one. So after the previous fractal, I just made a new camp with a different type of fractal. Right? So this is gonna be like a kind of cloudy fractal that with the same techniques, it's looping after five seconds. So we're gonna duplicate this kind of duplicate the kind of, like replicate the same steps, but in a cloudy way, you will see why. Later I realized I totally skipped over important step. As you can tell by this, I went to you had to get to the particles all that after you have your two displacement maps, I pre comfort. And I like crunch the values, you know, a little bit. And I added a mesh warp on top to make it more or less much the ship of the water, right? Once you go, ah, level higher where all the stuff happens, I enter the displacement map and made that layer the displacement controller. Right? So now everything's getting the story just by this layer right after effect is going to read the information from this thing from this camp and then after, you know So on this level, I basically masked it out with it's the main water company. Ana. I made it. Um you know, I added, like a blending mode overlay. So it feels like the water itself has a bit off. You know, like a little bit off distortion going on. Right? So when you add this on the displacement layer on top, that is using the lightness for it. This happens, right? So you get both the internal water on the distortion that is the same, so looks immediately extra organic. 14. Water Animation 2: And then I added a black solid with moral is the shape of where the fish would be. So it doesn't get too distorted, like this little area right on. Then everything still works. Everything still loops, right? So now we have, you know, pretty decent chunk of animation. I feel like that. Maybe the water reflection could be, you know, but tone down, right? And then, since the the main distortion seems to have a little bit off rotation here, we're gonna just force this back into this distortion later. If you don't see it, click here. Um, we're just gonna make it bigger. So see, it's like can't twisting in. Ah, counterclockwise. So now it feels like it's becoming that little section of it might still be. It might be We're too much. Maybe not. I don't see the upper section of it, I think is my work, which is Look, we're looking for this thing to happen. Kind of like there's little twirls and then for the other side, you can spend a good amount of time. Moral is making this shape for this, right? So we're just gonna move ahead. You know what? Let's just do it for the practice on this. This level. So we now see. And I guess you know, says worry here, which is not a copy of the liquefy. Right. Then we're just gonna make you the same, right? Why not? They were just gonna send it back to being in Ah, Alfa. So now the displacement amount, we'll probably up probably need to lower the UAE section. So I feel this is feeling okay for what it is. The cool thing is that since this is gonna be in the foreground, we're just gonna go do the main water. So the fish, check it out. You guys press control out home to center. The anchor point, right? They were just gonna change it more or less to here. And then we're gonna copy the wiggle up go. We're gonna change it to, like, 10 on, loop it at five. Just like that, The way the fishes like, you know, flirting with it. And we're gonna do the same for the rotation. We're gonna copy the position one and then maybe Tommy down, maybe. No, maybe this is good enough. And we're gonna go inside the fish company. You know what We're just gonna do a bunch of work. Just gonna go repaint a few things in after effects. So this is our master fish. We're just gonna repaint. We're just gonna mask out thing to remember. This is gonna be There's a fish. There's a fen or using everything in after effects, by the way, will only to go back to photo shop to just fix this. We're just gonna do a solid grab this collar. Just hide it. For now, we're just gonna more or less make the shape of it, right? It feels like all right, I'm then maybe that should do it. We're just gonna feather this. All right? They were gonna go to the mask. We're gonna abstract it, and then we're just not feather that just a touch. And then we're gonna have a second called her pass, which is more like a bluer tone, right? And then we're just gonna put it right there. Boom. I was just gonna feathery the touch. Um, you know, it doesn't have to be like super published Boom. And just like that, this thing has been repainted, and I Let's move the fen to the top. That's changed the anchor point with why? And then change their rotation. I'll click it. Pace it. So now the fishes, swimming people vituperative particularly there would be little fish. Okay, so we go back to the Fish Creek ump, move That fan can go a little crazier. It's too 20. Let's change it to, like three. Now, let's give it a 3 20 of industry 20. Okay? There's my baby. Too much. Maybe not. Um, you know, you can do a bunch of things so you could make the eyes move. Kind of like what we did with more general. That really gonna do that right now. So now you will go back to the main fish works. We're just gonna make sure everything is working. There's a way to, you know, randomize the X better than, you know, randomized the X higher values than the UAE on all that. I had to recommend the you guys reading up on expressions. You know, I keep going back to expressions. I think they can be really powerful. So you see this little thing now? The circle is too noticeable. I don't like that. So yeah, the, uh, the men, the man pre camp for this. IHS getting too strong. This little circle right here. So what you can do? Guys, if you want to undo something, just click on this brush on this car. It's gonna send it back to normal. It's kind of undo were just tone it down a touch, maybe 70% so that should be fine. 15. Water Animation: Particles: feels a bit better. So can always have particles and things on top of this, which maybe we should actually, you know, let's go ahead and do that mean water, Right? So the main water, because it's such an important piece. Let's duplicate this. We're gonna rename this water particle source. Um, so we're gonna do color key. So just like that, we've created a little bit off, you know, we need, like, the edges a little bit. So feather this a touch fair. This maybe. And then we're gonna call this move. Movil attributes. We're gonna call this water. What a particle source. Pretty calm. So now the particle working, I generate the particle system that will use this chunk as particles. So you sell it particular. Right? So we're gonna hide this for now. We're gonna bring back the transparency, so we're just gonna do a meter we're going to do. We're going zero out all of this right now. We're gonna use a mirror type before we do that. Make sure this layer it's three day. It's a particular type of requirement layer. We're gonna use layer meter, and this is gonna be number two. Boom. So Now we turn down the particle amount. Now we have those particles being generated from it. Right. So that's how finding good we're gonna do. Five second loop. I'm sorry. Five seconds off life because we're making a five second loop we're gonna Then we're gonna do air. We're gonna have a bit of wind. Then, just like that, the particle life might be too big by the word, right? So and maybe with more strength, right? And then we're gonna do truants field, and then we're gonna fix size, organ effect position, like a lot. A lot. Maybe not that much. 1 50 Right on. Then we're gonna do complexity, evolution, speed. We're gonna punch of this ups. It feels more more organic. So we're gonna go back to the particle. So we go back to the particle a matter particle life. We're gonna probably tone it down, and then we're gonna change this size over life to baked, to smoke, right? And then we're gonna change the opacity over life to like a bell. Right? So I feel like maybe we need more wind rights. Feels like now it will take back the animation. There's definitely too much of for life happening here, so we're gonna make them bigger. We're not telling down the a pass ity. I'm sorry. The life for this, right? So it's gonna, like nice and subtle, so size over life capacity over life seems like within click on this or do it. Okay, so now we're gonna do been more particles and cry So we're gonna do vector Player Specter blurry is so powerful. Yes, And then we got, you know, get a bit closer. Genital perpendicular. This is where, like, the whole thing it starts working together rights and now feels like it's getting connective groups know that far. All right, so we're gonna do the same thing for the loop. We're gonna do particle amount right here, and then we're gonna do zero, and then we're gonna do duplicated and then move it. So now the particles loop that would change that adjustment layer. So, Mary the park ocean, be on top of it. Scoop. There is therefore a Yeah, wouldn't need the source pre combat civil. Hey, how about that? So now we have particles. May be when we could make them a touch bigger. No, maybe not. I'm not is like this, and the cool thing is like by default. By default, you get the particle color from the layer so wouldn't need to change the colors is gonna magic, Wright said. We go back to the previous model to the main water, and then we're just gonna have this pass with her. Let's hide the backwater and then let's run preview this. Let's do, ah fit Well, whether you guys think this is kind of a rough one, I'm not just liking this. 16. Water Animation: Background: Hello. Welcome back. This is what we have. There's a few things to fix here and there. Like everything during this whole process, we will have to figure out if the water is moving too fast, depending on like everything else on the environment. I had a couple of extra particles and all that. I feel like this is coming together, right? Everything is looping, by the way, this is our five second loop. Okay, so the next step, it's to continue doing the water thing with the water. Is that now that we have the main wave, we need two things. The weather reflection pre come. Which is this guy right here. We need that one. And we need this guy right here. We needed without the mesh warp. Also for this company. Particular guys, this list a little circle right here. I just duplicated the same camp on Rotated it. Because if we look at the actual art, this chunk right here is connect floating towards her. It's also a good idea to make the displacement map shape to follow more or less that so it's basically left to right. But then right here, it's kind of like hitting, you know, right to laughed and upwards, right? So I'm basically Can I faking that with this? It's a pretty quick fix. We need the main fractal pre camp, which is this guy, right? This guy without the effects Right on. Then we're gonna need this guy. So this is what we're gonna do. We're gonna keep going back to the front water. Let's do that. Suit backwater. Right. So we're gonna do Let's do this guy right here. Right, So we're gonna become this big flourish, right? Camp one. That's fine. And there were gonna just double click it hopes we're gonna change the mask that will quick it. So there isn't I do double click. It's because, like sometimes on the floor when they bit off of you didn't manually. All right, so we're gonna just, you know, let's let's give it a bit more breathing room. The last crop it. Right. So for these one, you guys, we're also gonna a mask. There's little chunks out. We don't need them. We're going more or less. Replicate those in. You know, the particle pass. There was gonna be like floating spheres. They did it backwards on the worries substructure did. So we're gonna pre come this again because everything is gonna live within this thing. Remember the displacement map? The overall layers being displaced, they need to be the same size. So for now on, this is gonna be the actual full size. Right? So before this, you see this little square? It means of the combos. Bigger aftereffects might potentially screw up the displacement on by aftereffects. I mean, us. So now this this whole asset is in inside this square, right? So I could be the thing from before. It doesn't matter. The direction normally can be left, right, the right to left. It's easier for me to go left to right and then rotated if necessary, but, like, check it out, we're gonna We're gonna recycle this asset because you know, why not? We have it. And then we're gonna just turn down the passage e for this a touch. So this is a tricky one because we want this asset to follow more or less the shape off this thing. So we'll do mesh warp. Yeah. Normally use much warping for, like, big stuff. Can I like polish it with liquefy? Just make it Follow the s shape we got Just go full screen with a tilde key and then just the more less follow this path. What you can do is just boom, right? And then of the s shape. There's some even ways to do this, by the way. So don't think that busy. The only way I'm gonna leave this curve a little pronounced so I can't remember where the corner is. This mash thing it's can be pretty annoying to find the things where they're supposed to be at. And for this one, we're not gonna see the this lower part we we lower this guy's a touch and then kind of Bring that back there, you see, like this and then just kind of break the curls of this point should we find and I want time to get this on very general space. All right, so let's see what we have, Right. So let's see how this one looks come nice and organic, that is, you guys. Here's the thing. We're going to the same take for all of his, right. So remember, we just need it to cope. Aly that the original water layer, the main one is. Make sure it's not getting to skinny on the sides. You know what I mean? Like, I tried to make this a little wider, you know? So otherwise it's gonna look like it's bunching up there. Same for the days. All right, so, again, this doesn't need to be perfect. There's no real rules for this. This is all an approximation. So what did we do last time? It just made it into overlay. And then it's off the map when they were doing the previous one. Actually, the main live, overly Alfa 50 right? Overlay off. I'm 50. Whom? So now it feels like it's doing that. It's funny, because if you do the displacement map right, you could do this. Can't break the shape of the fractal. So we're gonna use the natural water layer. That's the displacement layer. And we're just gonna do likeness. This kind only looking funny because was or match warping things. So we've become of this. There you go. So see, now, this is how we can make this overly a bit more interesting. I'm gonna do it. I don't think we need to worry about about that for now. I mean, we can always displace it with itself If you wanted to, you know, have, like, a little more interesting shape. So we're using the same layer as its own displacement. So that also helps sometimes, right? Actually, I'm digging this a lot. Well, this was a pretty fricking happy accident, if you ask me. OK, so we're gonna do maybe a little less. Right? So 30 I just realized for like, this little dots we don't want the, you know, we're gonna mask it out. It's for their I just noticed this. Thanks. And for mask and thence obstruct and then throw the next one, right? No, Little Floatie is here for now. Gonna create this and then some. Strict. So we're gonna head back to the previous layer, right? So now what we need is the layer new adjustment layer displacement map. We're gonna use that may fractal pre company luminess low minutes. Oh, that's right. We need to pre come this 17. Water Animation: Background 2: Let me try to explain why? Because if we see the main thing, this is what after fixes reading, right? Remember, when it's a pre cum things up, Perfect reads from this one. So once we become, this is going to read from the mesh warp and all that good stuff, right? So that would have this stuff here, which is using exactly this one. Yeah. We're gonna have to do this one, right? So let's have it for right. So we need more space for these guys. Okay, Cool. So if we go back to this thing, we need to do the same thing, right? And then about four, this thing is gonna help from at it. Right? Then we're gonna do overlay at 50. So now this thing is sitting, it's up off everything. So now this is gonna be crazy. Well, look at this cool thing happening, So yeah, this is definitely Yeah. This is five 20. So horizontally we need we need less, right? And maybe when it's a crack on there, like, maybe it just could use is a 2020. Okay. And just like with with the previous one, we need to bring over the water reflection camp. So order for election pre camp. Pace it over here. Basically get rid of the liquefy on a displacement on the mesh warp. Right. So we're gonna do We're basically copy. I would live before for this. Right? So we're gonna rotated minus 64 degrees. Actually, a better way to do this is real Project. Right? So when you've is right, so we're gonna find look for ish. So we're gonna duplicate this and then just have it like that. Some now we have two comes, right? So this is gonna be pretty. Come this fractal pre. Come on. This is Frank Toe Affliction Pre Come. So I duplicated both comes on this thing on the project panel. So when the So this is reflections. And I would have the reflection like we wanted to, right? So this is reflection. It doesn't need the, uh, displacement map for this. Right? And we're good to fractal pre Kump. You know, if real pre camp where every name is back 10 through for this one, we're not gonna use this one. Right? So this is a man. Frank's will become back 10 dro. This is pretty company back tendril to. So just so we know where they live, right? So we know we want this. We're gonna just kill this one out. So for this one revealing project, So since there are copies, that should be the same sighs. Right? And then we're gonna replay this. We're gonna replace it. Same drill, right? Wasn't like that. And the other one fractal brick. Um oops. I duplicated the wrong one. Boof man, When the big flourish automatic, so would have, you know, we have now this things right Then when the were adding this thing on top, and then we're gonna have worked at this place, the thing with big flourish that's the situation. Is this This is after the facto before rights. It breaks the shapes into, you know, more interesting chunks. We're not telling down the passage for this, right? And then this is gonna get distorted altogether with a displacement mild. We need some sort off animation this as well. So check it out. Since this is gathering all the information, we're gonna pre come this and just call it flourish, right? I hope it. Right. So now it's again. It's using the same thing, right? I'm them. You guys see what? It's coming? Yes. Feel me. All right. So it's gonna be 123 for five. So we're gonna get hard to say Boom on the game says we already have things like the fabric , which isn't the to remember that, but what they want. There's a reason the controller is the value for it to loop on the speed thing. I don't know. This little square is gonna be a problem. Do we need to clean it up? Yeah, we should probably get rid of it. Mask it on dance. Obstructed. Now it's doing this inside this thing. I'm actually since worry here. Right? What if I told you that you could do the same for this one? Be four, 23 for on the play it. And now we have both tendrils kind of waving with it. Right? So my goodness, it's looking like together at the same time. So we don't want that there were going just Okay, so check it out so that we have this here and now everything. It's happening here. Just think too much. Maybe we need to turn down there. This is 1 50 then, like, 80. It's keeping nice and subtle, right? So let's try with front character. Oops. Destroyed with the front character. See how she looks. But I feel like this is working nicely is too fast. But also other Remember we got to from water in water. This thing right here, we're missing a very crucial effect. Missing the tent. The vector blur. Right. So, consistency, slits. Bring this back over here. So that's a bit darker because it's made. So now we need to punch it back up. There you go. It feels more integrated. Do you want to see the before and after? Just hopes. Just, uh you know how the tent it was a bit too strong. 18. Water Animation: Final: okay. I feel these works. So now we're gonna do the Winnie the particles for this. Let's do the particles *** particles on small particles. Right? I'm that we're going to you to do the color key for this. And then, uh, hi, this one. So when we punched the cars, Here we come. All this I see it, quote. So this is already moving. It's fine. This is supposed to be kind of dirty. Anyways, he's right part to co create tour, right? Make this three the we're just gonna hide. This says more particles will find the layer, which is this one, right? So again, we're recycling a bunch of things at this point. Do you guys, there's no need to recreate all of it. So we need mostly stuff going upwards. We left. I feel like it. Still, everything's moving kind of left to right. So we're gonna do that for that. And then for the big particles, for the big particles were still doing that one. The creator. Right. So this one, we're just gonna move it to the sides for the big particles. We're gonna have to turn down the the win on this. So Let's make it 20 then. That's not. Move it as much. Position 1 52 on 25. Okay, so big particles duplicate. Move them. 19. Background Animation: all right, so the next step is to finish up the background. The holy day with the background is basically to enemy the palm trees. I'm really speeding this up by like, you know, 10 times. It's basically the Otis way approach. It's little the same thing. Just do that for all the palm tree leaves on. Then do the controller for it do the same speed that will make the leaves out of its way to loop the background. So obviously nothing that we should spend too much time on necessarily. I ended up like blurring it a little bit. Just Teoh have a little more emphasis on the character. You know, I'm there cupping the same knoll so we can cut you controllers into the same speed they they're having. This controller is that eventually we could have connected all of the controllers for the order sway into like a main controller in the main comp. So we wanted to, you know, change the ratio a little bit of the animation. But yet for the background, I basic I added the puppet tool technique. I entered the artist's way on every single leave. You know, we can always tone it down, if if necessary. But it's up to you like I thought it would be cool to to have a little bit more exaggerated . There's nothing wrong with either, or I add a touch of color correction in the M. I also added, As you can tell, the glowing hands from the original artwork, you know, that also make, sir, I'm trying to see the original file as reference. There's definitely like a like a shine at the end that something applying that you also need to get That's optional. As you can tell that it really adds some extra flourishes. You know, the last step for this at little details here and there. I move the particles from the front water to the main comp so we can see them a bit better , you know, just a little bit. And then I proceeded toe like a bunch of particles of the from kind of missed like big, low opacity fat particles to make this look a little more interesting, something to other little extra spice to it. Some missed the pass on top of it. So here is you guys. As you can tell, there's a lot going on the backgrounds, up it blurry so we can focus on her out of the mist pass Pretty subtle. But it's there with hands glowing at a you know, a little bit off extra love to it. Yeah, we're all you know, I'm pretty happy with it. I wouldn't say this is 1% finished. In my opinion, I could go on for another 100 hours on this. But, you know, for this I'm gonna call it finished. Even though you guys are welcome to keep going on this, there's always more things you can add to this. You know, water splashes or extra glows as extra facial expressions, or even have her turned her head. That's, you know, there's a 1,000,000 things you can do to this type of things. So, yeah, what do you guys think? Do you love it? I think is looking police with you guys 20. Outro: Okay, you guys welcome back. I hope you enjoy the tutorial. I really put a lot of effort on it. The the end of the tutorial is not the end of the possibilities for this animation. You can do a lot of different things to it to spice it up or particles or more distortion or, you know, repaint things here and there. Really, of the sky is the limit. Um, please hit me up with questions I'm gonna try to upload frequently. If you have any questions for for your merger or like the stuff that I've made for legal. Plagens tested me up. I'm gonna be trying to come up with a B s. You know, better ways to teach you guys how to come up with that. Hit me up on the socials. Whatever. I'm gonna post it somewhere on the screen. Instagram on. You two are gonna be my main things. If you have any questions, please let me know. I hope you guys have fun. See you later. But will it Before I do that, there's a little guy wanted to say bye goodbye around me. All right, guys, catch you in the next one by 21. Final Result: Animation: